Virginia Tech Department of Theatre Arts

THEATRE DESIGN

All areas of theatre design, scenography, costume, and lighting, are ofered in the Department of Theatre Arts. In addition to these traditional areas, the design faculty is also very interested in the value of sound design, props design, and technical design,the contribution of the technical director to the design of a production. Although formal study is not offered in all areas, their impact on production is explored in the production work of the department and their importance is studied and manifested in the work we create. The educational impact of our production activity is central to the training of students in Theatre Arts.

SCENOGRAPHY

Scenography makes sense only when it becomes an instrument in the hands of a director, when it becomes a space for inspiration, a kind of technical and design plaything. The Secret of Theatrical Space  by Josef Svoboda

Rosencrantz & Guildenstern Are Dead - Studio Theatre - 1995
Scenography by Randy Ward






Scenography as a design area in theatre differs from traditional scenic design in that the illusion of locale is not a primary concern. Scenography is driven by the underlying poetic values of the script, and the designer seeks to express the dynamic structure of relationships and the psychic structure of the play's context using architectonic forms. The range of scenographic expression can run from boldly theatrical, even abstract expression, to designs that utilize period specific forms in a metaphoric way. Often scenography utilizes contemporary technologies to explore design values embedded in the emotional soul of the play. Large format projection equipment, fluid and pneumatic powered kinetic elements, and digital audio technology are frequently used in scenographic expression.

At the core of our study of scenography is a strong belief in theatre as a collaborative art, with clear communication between designer and director an important goal. Ultimately we seek to provide the actor with a set of tools that support and enhance the physical manifestation of character. The actor must be able to bring the character to life in a space that can interact dymanically with actor/character, revealing the truth of character to the audience.

TECHNICAL DESIGN

The concept of Technical Design assumes that artistry and craftsmanship are uniquely connected and interdependent. Lee Simonson wrote that the life of a scenic idea is inextricably related to the search for the mechanical means of realization that will not destroy it. The work of the technical director therefore, must involve aesthetic contribution and technical competence. Modern design challenges require a creative approach rather than dependence on "traditional" scenic methods. Design experience and strong skills in geometry, trigonometry, and simplified structural engineering form the basis for efficient problem solving and the true realization of the scenic idea.

BELLS ARE RINGING, Designed by Laurel Dahill, 1995

LIGHTING DESIGN

Stage lighting as an art form is dependent on technologies that are in almost constant flux. The lighting designer must be able to interpret and visualize a theatre production and express ideas in word and in visual expressions, from the thumbnail sketch to computer generated imagery. A good lighting designer is able to find the balance between the conceptual and the mechanical, both necessary components of the art of lighting design. Students in this area have access to excellent lighting technology, especially in the Department of Theatre Art's Studio Theatre. This technology is studied so it can be used as a tool in the hands of a theatre artist; for it is only an artist can trancend the mechanics of technology to use light as a creative component of the theatrical art.